Like most of the ancient churches we are about to visit during the course of our journey south, Hagia Sophia is a building of small dimensions according to modern ideas. The interior has a length of not more than 69 feet from the inner door to the head of the apse, with a breadth, excluding the side porches, of 36 feet. A building of this size is admirably adapted to the art of the painter in fresco, while his work derives the greatest possible advantage from the features of the design. The lofty vaulted spaces of the dome and apse were once resplendent with bright effects; and on the walls were depicted the richly-apparelled figures of the princes of the Comnenian line. From the partial glimpses of the paintings obtained by various travellers, it is possible to realise, at least in some measure, the former splendour of the scene. At the entrance above the door was seen the image of Alexius, first emperor of Trebizond, surrounded by his court, like Justinian at Ravenna; in his hands the golden globe of empire, and on his forehead a white diadem. On the right of the same door stood the first Manuel (r. A.D. 1238-63), the prince who was known as "the great captain," and who, according to the description at the side of the figure, was the founder of this monastery. The emperor was without crown, but his forehead was encircled by a cinglet with a double row of pearls. The front of the royal robe was adorned on either side by a band of large circular medallions, bearing the device of the single-headed eagle; a similar ornament, engraved with the equestrian figure of St. Eugenius, hung upon the royal breast. Many of the successors of these two princes were without doubt represented on the remaining spaces of the walls; while the portraits included those of saints and evangelists, all attired in costliest style. The apse displayed a group of three figures, of whom the central one appears to have designated St. Paul; on his right hand St. James and on his left St. John were identified by written scrolls. From the inner sides of the arches, as from the vault of heaven, the faces of angels looked down. The floor was paved by a rich marqueterie of marbles; you admired in particular a design of geometrical character in which the tracing was done in black marble on a ground of vivid reds and pinks and greens.